As a musician, I find myself thinking a lot about the Rickert and Salvo article, especially their discussion of musicians as being “at the forefront of the new media revolution…artists and musicians have been collaborating and mutually influencing each other, creating feedback loops and immersive media worlds, for quite some time…there is a technological component to these extensions, dispersions, and feedback loops” (298). I feel like the collaborative nature of these technological, aural feedback loops are really important, especially when we think about “how we hear and experience sound” and how interrogating this experience “promises far more for composition, invention, and pedagogy” (299), which is what McKee mentions as well:

With the continued development of digitized technologies, sound is also becoming integral to our writing processes as well. Digitization and the increased convergence of computerized technologies enable the integration of visual, aural, and textual elements with unprecedented ease…How should we develop understandings of the sounds in which we’re immersed and that increasingly shape how and what we write? Given this move to even greater multiple modalities in composition, what are writers and writing teachers to do? (336)

And after reading all this, in thinking about how sound and music shapes how and what we write—because I know that playing music has definitely shaped the way I write—I think the collaborative nature of music and how this type of collaboration might inform our writing processes is what I really want to hear (pun intended) more about in and after these readings. And I’m wondering how our understanding of music as a process of meaning-making might inform the way we think about writing as a process of meaning-making.